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Virginia Woolf's Portraits of Russian Writers
Virginia Woolf’s Portraits of Russian Writers Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova Virginia Woolf’s Portraits of Russian Writers: Creating the Literary Other By Darya Protopopova This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Darya Protopopova All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2753-0 ISBN (13): 978-1-5275-2753-9 TABLE OF CONTENTS Note on the Text ........................................................................................ vi Preface ...................................................................................................... vii Introduction ................................................................................................ 1 Russia and the British Search for the Cultural ‘Other’ Chapter One .............................................................................................. 32 Woolf’s Real and Fictional Russians Chapter Two ............................................................................................. 58 Woolf and Dostoevsky: Verbalising the Soul Chapter Three ........................................................................................ -
Instructions for Authors
INSTRUCTIONS FOR AUTHORS MANUSCRIPT SUBMISSION Manuscript Submission Submission of a manuscript implies: that the work described has not been published before; that it is not under consideration for publication anywhere else; that its publication has been approved by all co-authors, if any, as well as by the responsible authorities – tacitly or explicitly – at the institute where the work has been carried out. The publisher will not be held legally responsible should there be any claims for compensation. Permissions Authors wishing to include figures, tables, or text passages that have already been published elsewhere are required to obtain permission from the copyright owner(s) for both the print and online format and to include evidence that such permission has been granted when submitting their papers. Any material received without such evidence will be assumed to originate from the authors. Online Submission Authors should submit their manuscripts online. Electronic submission substantially reduces the editorial processing and reviewing times and shortens overall publication times. Please follow the hyperlink “Submit online” on the right and upload all of your manuscript files following the instructions given on the screen. If the link is not activated, please mail your submission to [email protected]. TITLE PAGE The title page should include: The name(s) of the author(s) A concise and informative title The affiliation(s) and address(es) of the author(s) The e-mail address, telephone and fax numbers of the corresponding author Abstract Please provide an abstract of 150 to 200 words. The abstract should not contain any undefined abbreviations or unspecified references. -
WILLIAM BLAKE, [April
198 WILLIAM BLAKE, [April, William Blake. By HUBERT J. NORMAN, M.B., Ch.B., D.P.H.Edin., Assistant Medical Officer,Camberwell House, S.E. I. THE association between the artistic temperament and eccen tricity has frequently been noted, and in the lives of Turner, Vanclyck, Michael Angelo, Benvenuto Cellini, Morland, Romney, Maclise, Landseer, Haydon, Cosway, and many others there is much to support Nisbet's contention that " nerve-disorder is a fundamental element of genius in relation to colour and form." To the list already given, the name of William Blake may fittingly be added, for, just as some of those named at times passed the boundary which separates sanity from insanity, so most certainly did Blake also cross the borderland. It does not, of course, follow that because those attributes which are usually associated with the term genius are so fre quently found in conjunction with unsound mental action that they, therefore, arise from the nerve-disorder ; rather is it that they both proceed from a nervous system in a condition of unstable equilibrium, which may either exhibit complex reactions in the production of some work of high intellectual grade, or tend at other times to display those irregular functionings which are termed eccentric or insane. That conduct'of an eccentric or even of an insane nature has been observed in many artists is undoubted ; indeed, so frequently has such conduct been noted that some writers have inferred that eccentricity is an invariable concomitant of the artistic temperament. The tendency to caricature is, however, very widespread ; that which is a prominent trait in such writers as Dickens, Swift, Cervantes, or Heine, or of such artists as Hogarth, Jan Steen, Cruickshank, or Teniers, is no less notice able a feature of all but a few—avery few—people. -
The Considerations of Editing Previously Published Works
Portland State University PDXScholar Book Publishing Final Research Paper English 5-2015 The Considerations of Editing Previously Published Works Ariana Marquis Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_bookpubpaper Part of the English Language and Literature Commons, and the Publishing Commons Let us know how access to this document benefits ou.y Recommended Citation Marquis, Ariana, "The Considerations of Editing Previously Published Works" (2015). Book Publishing Final Research Paper. 6. https://pdxscholar.library.pdx.edu/eng_bookpubpaper/6 This Paper is brought to you for free and open access. It has been accepted for inclusion in Book Publishing Final Research Paper by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Research question: “How, if at all, do editors adjust their methods when they are editing something that has been previously published (e.g. a short story that previously appeared in a literary journal and will now be published as part of a collection of short stories)? What is their justification for these adjustments (or lack thereof)? How does their understanding of these adjustments (or lack thereof) compare to the products of their efforts?” Ariana Marquis 5/11/15 The Considerations of Editing Previously Published Works Many readers don’t realize the extent to whiCh two versions of the same work—earlier and later editions of a book, an essay that appears in two different collections, a mass market edition versus a CritiCal edition for sCholars—can differ from one another. -
The Swetky Agency Agreement ______
THE SWETKY LITERARY AGENCY LITERARY AGENCY AGREEMENT http://www.swetkyagency.com Faye M. Swetky, Representative/Owner: [email protected] ___________________________________________________________________ AGREEMENT ("Agreement"), dated 10/14/2017, defines the relationship between literary agent, The Swetky Literary Agency, 929 W. Sunset Blvd #21-285, St. George, UT 84770, 719-859-2211 / 435-579-5000 FAX, [email protected] ("Literary Agent"), and author/creator/developer _____________________(“Author”). 1. LITERARY AGENCY REPRESENTS AUTHOR For the term of this agreement, Author hereby retains Literary Agent: (a) To represent Author for the sale of all Author’s works ("Represented Works"), written or to be written by Author and not covered by a prior un-agented sale or prior agency agreement, including: (1) all book-length fiction and/or nonfiction; (2) all full-length feature screenplays and/or full-length or series-length television scripts; and (3) any other writings that Author and Literary Agent may agree upon and specifically stipulate in writing, unless the agency deems the property to be unmarketable in its presented form and so notifies author of that fact via e-mail within thirty (30) days of submission to Agent. Author hereby agrees to make available to Literary Agent all above mentioned works for consideration for representation. (b) To negotiate sales ("Represented Sales") of (1) Represented Works in the U.S., its territories, and Canada ("Domestic Sales"), if applicable, (2) Represented Works in non-domestic markets ("Foreign Sales”), and (3) derivative or secondary rights in the Represented Works (such as film, TV, recording, or other dramatic media) anywhere in the world (“Subsidiary Sales"). -
Literary Agent Michael Larsen
10 Commandments That Guarantee Your Success Handouts for a Keynote/Seminar Michael Larsen Michael Larsen-Elizabeth Pomada Literary Agents Co-director, San Francisco Writers Conference San Francisco Writing for Change Conference Author of How to Write a Book Proposal and How to Get a Literary Agent From which many of the handouts were adapted Coauthor of Guerrilla Marketing for Writers: 100 Weapons for Selling Your Work With Jay Conrad Levinson, Rick Frishman, and David Hancock Michael Larsen Michael Larsen. The commandments are the outline of a keynote and seminar. Michael Larsen-Elizabeth Pomada Literary Agents/ AAR / Helping Writers Launch Careers Since 1972 [email protected] / www.larsenpomada.com / 415-673-0939 /1029 Jones Street / San Francisco, 94109 The 12th San Francisco Writers Conference / A Celebration of Craft, Commerce & Community February 12-16, 2015 / www.sfwriters.org / [email protected] / Mike’s blog: http://sfwriters.info/blog Keynotes: Judith Curr, Yiyun Li @SFWC / www.facebook.com/SanFranciscoWritersConference The 7th San Francisco Writing for Change Conference / Changing the World One Book at a Time September, 12th, 2015 / www.sfwritingforchange.org / [email protected] Mike’s blog: http://sfwriters.info/blog / @SFWC / www.facebook.com/SanFranciscoWritersConference 0 A Golden Age for Writers: 10 Truths You Need to Know About Writing and Publishing To be a successful, you need a positive but realistic perspective about writing and publishing. These ten observations form the basis for “10 Commandments that, with Luck, Guarantee Your Success as a Writer.” 1. Because the Web empowers you to reach readers, control and profit more from your work, collaborate on monetizing and publicizing your work, and change the world faster and more easily than ever, now is the best time ever to be a writer. -
The NWU Literary Agent Agreement” 6/19/08 10:57 PM
Loading “The NWU Literary Agent Agreement” 6/19/08 10:57 PM The NWU Literary Agent Agreement (Confidential: For NWU members only) Understanding the Author-Agent Relationship A Guide to the NWU Preferred Literary Agent Agreement Introduction This guide is an educational tool for authors who are considering entering into a relationship with a literary agent, or who need help in understanding an existing author- agent agreement. It should be read in conjunction with the National Writers Union Preferred Literary Agent Agreement and used to evaluate or improve any agent agreement you may be asked to sign. Both documents are available to National Writers Union (NWU) members. Deciding to retain an agent is a major decision in any author\'s career. An agent will agree to represent your work because she believes she can sell it to a publisher or publishers. The agent is your representative, whom you hire to market your work, to negotiate your publishing contracts, and to oversee your royalty accounts. In exchange for an agent\'s representation, an author agrees to pay the agent a commission; a commission is a percentage of all income earned from those rights that the agent is able to license. Every author\'s work includes a bundle of individual rights that may be exploited: e.g., hardcover print rights; paperback print rights; electronic database rights; interactive software rights; foreign translation rights; television adaptation rights; audio cassette rights, and so forth. In addition, as new forms of media are created, new rights (e.g., CD-ROM rights) emerge and become valuable. Collectively, these individual rights form the copyright to one\'s work. -
Print Books on Demand Formatting Guide
Barnes & Noble® Print Books on Demand Formatting Guide barnesandnoble.com llc, 76 Ninth Avenue, New York, NY 10011 USA. © 2014 barnesandnoble.com llc. All rights reserved. Barnes & Noble®, NOOK®, NOOK Book®, NOOK Press®, PubIt!®, and the NOOK logos are trademarks of barnesandnoble.com llc or its affiliates. Patent Pending. Content shown may vary from actual available content, which may change without notice. All trademarks or registered trademarks that are not the property of barnesandnoble.com llc or its affiliates are the property of their respective owners. TABLE OF CONTENTS Getting Started ....................................................................................................... 6 Book File Requirements ......................................................................................... 7 What is a Print-Ready PDF? ....................................................................................................................................... 7 Pre-Press Manuscript.............................................................................................. 8 Proofread and Spell-Check ......................................................................................................................................... 8 Spacing and Text Placement ....................................................................................................................................... 8 Using Hard Returns .................................................................................................................................................................... -
Marilyn S-.Indd
BEARS IN BLOOMSBURY: JANE ELLEN HARRISON AND RUSSIA 117 Afternoon 118 MARILYN SCHWINN-SMITH BEARS IN BLOOMSBURY: JANE ELLEN HARRISON AND RUSSIA 119 BEARS IN BLOOMSBURY: JANE ELLEN HARRISON AND RUSSIA Marilyn Schwinn-Smith – Five Colleges [I]t is no longer within the power of the English mind - the gift may be enjoyed perhaps in Russia - to see fur grow upon smooth ears and cloven hoofs where there are ten separate toes. Virginia Woolf October 1924, the first English translation of The Life of the Archpriest Avvakum, a 17th century Russian text, was published to good reviews as the 41st imprint of The Hogarth Press.1 Avvakum joined an already impressive list of Russian titles at Hogarth, the press founded and managed by Leonard and Virginia Woolf.2 November 1926, the young publishing firm - The Nonesuch Press - issued its 35th publication, The Book of the Bear.3 Nonesuch shared neither Hogarth’s interest in Russian texts nor new authors.4 The Book of the Bear is the only translation from the Russian and one of only three children’s books among Nonesuch’s first hundred titles. Avvakum and The Book of the Bear were anomalous ventures for both these private Presses, differing though their practices and objectives were. This essay charts the course of their translator - classical archeologist turned historical anthropologist - Jane Ellen Harrison (1850-1928), and her role in facilitating a connection between the worlds of privileged Bloomsbury and impoverished Russian refugees.5 The story of how these charming, diminutive books came into the world offers a glimpse into the stark divergence between the social reality of Britain - sometimes viewed as relatively unchanged after the horrors of the Great War 6 - and that of the Russian intellectuals living in what they still believed to be a temporary exile after the cataclysmic events of revolution and civil war. -
Instructions to Authors
Instructions to Authors May 2010 From Your Computer to the Global Audience .............................................. 1 Document Template ...................................................................................... 1 Manuscript Submission to Springer .............................................................. 2 Writing Your Text ......................................................................................... 2 Book Structure and Headings ........................................................................ 2 Abstract ......................................................................................................... 3 Technical Terms, Abbreviations .................................................................... 3 Tables ............................................................................................................ 4 Equations ....................................................................................................... 4 Literal Text .................................................................................................... 5 References ..................................................................................................... 5 Sources .......................................................................................................... 8 Index .............................................................................................................. 8 Figures and Illustration Data ........................................................................ -
The Second Edition of Edward Fitzgerald's Rubá'iyyát of 'Umar
llttidUi THE SECOND EDITION OF EDWARD FITZGERALD'S RUBA'IYYAT OF 'UMAR KHAYYAM THE SECOND EDITION OF EDWARD FITZGERALD'S rubA'iyyat of 'umar khayyam (LONDON : 1868 : B. QUARITCH) EDITED, WITH AN INTRODUCTION AND NOTES, BY EDWARD HERON-ALLEN LONDON DUCKWORTH AND CO. 1908 A II rights reserved BetJtcation iL/o " ji^ Jl^ ^:S ^ iuU> ^5 j*l-3 ij :Nrour-i-iitaij O Name of Thine, the best heading of a commencement, Without Thy Name how shall I begin my book ? Nizam'i—Leila and Majnun Ion 536^7 Kal 6 fiev rau noLrirav e^ ciWris Movarjs, 6 8e i^ nWrjs e^TjpTrjrai— ovofid^ofiev 8e dvro KarexfraL, to 8i fan rrapaTrXrjcriov e'jj^erai yap— fK 8e TovTuiv Twv TTpoiTOiv daKTvXiwv, T(bv TTOtJ/raJj', aXXoi e^ oXXou ail r]pTr]p.ivoi (ia\ Koi ivdovcria^ovai, ol fi€i> e^ Op(f}ia)s, ol de (k Movddiov 61 di TToXXtii e^ 'Op,r]pov Karexovrdi re koi e'xovrai. Ion 536 * 4-536 «^ 3: 2)1/ av, ft) "lo)v, eis ei Kal KarixTH ^$ 'Ofirjpov, koI eneiSav p-iv ris aXKov Tov TTOirjTov aBr), Kadivdeis re kcL aTTopfls brt, X4yi]s, eireidav Se TovTov TOV TTOirjTov (pdey^yjTaL tis p,f\os, evdvs eypijyopas koX opxeiTai fj '^"' f^'^opels ort Xtyrjs' ov ovS' eiri(rTrjp,T} crov V^'^'X') yap Tixyu TrepX 'Op,fjpov Xeytis a Xiyeis, dXXa diia p.6ipa koi KaTOKaxf], Stfrtrep ol KopvjBavTiS)VTes fKcivov p^ovov alaOdvovTai. tov p,iXovs o^ecos o &i> rj TOV deov i^OTOv tiv KaT€X(>>vTai, Kal els eicetvo to p^eXos Kal crx^paTuiv Kal pt]p,dT(ov eviropovaif tu)v fie hXXwi' ov (j)povTi^ov(riv ovtco Kal(rv, 0) "lav, Trepl pev 'Oprjpov oTav tis p,vrja6fj, (VTropeis, vrepi de tS)v (iXXoJV aTTopeis' tovtov S' e'crrt to uitiou, 6 p epcuTas, 81 on cri) nepl pev 'Op,7]pov eviroptis, wepl 8e tcov (iXX<ov ov, on ov Texv;/ dXXd Oiia pLOipa 'Opijpov 8eiv6s et enaipeTtjs. -
Beacon 7. How to Form a Publishing Company/Imprint
Beacon #7 How to form a publishing company/imprint For many authors, self-publishing is a hobby or “test the waters” endeavor – but when it becomes a business, it needs to be set up and run like a business. In most U.S. states, it’s neither difficult nor expensive to form a publishing company and imprint. A publishing imprint is simply the trade name under which a publishing company releases its books. For example, Harper Collins publishes books using more than a dozen different imprints (including Amistad, Avon Books, Ecco Press, Harper, William Morrow, and Zondervan) in order to build unique brand identities within various genres and market sectors. As a self-publishing author, you would most likely establish only one imprint (at least initially). Forming your own publishing company and imprint can be a relatively simple process if you establish the business as a “sole proprietorship.” This beacon will explain the six basic steps you’ll need to take to form your own publishing company and imprint (which can often be done within a couple of hours). First, however, it’s important to understand what a sole proprietorship is, and why it is generally recommended for authors who are self-publishing for the first time. The Sole Proprietorship A sole proprietorship is an unincorporated entity owned by one person (hence, the term “sole”). It is the most common form of business ownership in the U.S. The key feature of this structure is that the law makes no distinction between the sole proprietor (the owner of the business) and the business itself.